EL «HOMBRE BALLENA» DE NASCA

One of the present iconographic personages across the whole development of the society nasca is the divinity with whale body. In this article, from the observation of his representation in 12 ceramios, there appears his principal attributes and his ambience of action.Una de los personajes iconográficos presentes a través de todo el desarrollo de la sociedad nasca es la divinidad con cuerpo de ballena. En este artículo, a partir de la observación de su representación en 12 ceramios, se presenta sus principales atributos y su ámbito de acción

Processing History: Potentials of Transformers for 3D Reconstruction of Historical Objects with the Help of Artifcial Intelligence

The digital preservation of cultural heritage is an important and challenging task for the research community. Reconstructing historical objects, which do not exist anymore, in the form of digital 3D models makes it possible to visualize them and present them to the public. The reconstruction process as well as the visualization lead to a deeper understanding of the lost historical objects. But the process of the digitalreconstruction is complex and time consuming as diverse sources have to be consulted and interpreted. Therefore, in this paper the latest technology in the feld of artifcial intelligence (AI) is used to support researchers in the feld of Digital Humanities: A Transformer deep learning model based on questions answering methods is introduced to assist to digitally reconstruct historical objects in 3D. It implies a new dimension of data availability, which supports the knowledge process by making large amounts of data qualitatively accessible. [Aus: Einleitung

Grafficity. Visual Practices and Contestations in Urban Space

Graffiti has its roots in urban youth and protest cultures. However, in the past decades it has become an established visual art form. This volume investigates how graffiti oscillates between genuine subversiveness and a more recent commercialization and appropriation by the (art) market. At the same time it looks at how graffiti and street art are increasingly used as an instrument for collective re-appropriation of the urban space and so for the articulation of different forms of belonging, ethnicity, and citizenship. The focus is set on the role of graffiti in metropolitan contexts in the Spanish-speaking world but also includes glimpses of historical inscriptions in ancient Rome and Mesoamerica, as well as the graffiti movement in New York in the 1970s and in Egypt during the Arab Spring

Bilderzählung auf den Gefäßen der Nasca-Kultur: Der Fall des "Feliden-Menschen"

Este artículo es un análisis de diez cerámicas de la fase Nasca Temprano y Nasca Medio (fase Nasca II-V) representando diferentes seres sobrenaturales en escenas complejas. El análisis proporciona una definición detallada del "felino-hombre" lo cual es una deidad muy conocida en el panteón Nasca. Parte felino (cabeza felínica), parte hombre (cuerpo humano), esta deidad consistentemente tiene una porra y trofeos rituales en sus manos. Aparece con una diadema, nariguera y una falda. Está capturado por otras deidades mayor que el. Como la deidad F del Moche panteón el "felino-hombre" está involucrado en acciones diferentes. En algunos casos actúa en batallas míticas. En general la interacción de diferentes actores es una característica de la narración. El análisis muestra que las pinturas de Nasca Temprano y Nasca Medio son partes de una narración o un mito. Aparentemente el felino-hombre juega un papel importante como héroe en el Nasca panteón de la fase Nasca Temprano y Nasca Medio.This article is an analysis of ten Nasca vessels of the Early and Middle Nasca period (phases Nasca II-V) depicting various mythical beings in interaction. A very prominent mythical character of the Nasca pantheon, the feline-man, is defined. Half man, half feline he often carries a club and a bundle of ritual heads. He appears wearing a diadem, a nose pendant and a skirt. He is caught by gods who are bigger than himself. Like God F of the Moche pantheon the feline-man is involved in a variety of actions. In some cases he takes part in mythical battles. In general, interactions are a characteristic of narration. The analysis shows that, like Moche III-V fine line drawings, Early and Middle Nasca ceramic paintings are part of a story or myth. Apparently, the feline-man plays an important role as a hero-like person in the Nasca pantheon of the Early and Middle Nasca period

EL «HOMBRE BALLENA» DE NASCA

Una de los personajes iconográficos presentes a través de todo el desarrollo de la sociedad nasca es la divinidad con cuerpo de ballena. En este artículo, a partir de la observación de su representación en 12 ceramios, se presenta sus principales atributos y su ámbito de acción.</jats:p

Processing History: Potentials of Transformers for 3D Reconstruction of Historical Objects with the Help of Artifcial Intelligence

The digital preservation of cultural heritage is an important and challenging task for the research community. Reconstructing historical objects, which do not exist anymore, in the form of digital 3D models makes it possible to visualize them and present them to the public. The reconstruction process as well as the visualization lead to a deeper understanding of the lost historical objects. But the process of the digitalreconstruction is complex and time consuming as diverse sources have to be consulted and interpreted. Therefore, in this paper the latest technology in the feld of artifcial intelligence (AI) is used to support researchers in the feld of Digital Humanities: A Transformer deep learning model based on questions answering methods is introduced to assist to digitally reconstruct historical objects in 3D. It implies a new dimension of data availability, which supports the knowledge process by making large amounts of data qualitatively accessible. [Aus: Einleitung

Processing History: Potentials of Transformers for 3D Reconstruction of Historical Objects with the Help of Artifcial Intelligence

The digital preservation of cultural heritage is an important and challenging task for the research community. Reconstructing historical objects, which do not exist anymore, in the form of digital 3D models makes it possible to visualize them and present them to the public. The reconstruction process as well as the visualization lead to a deeper understanding of the lost historical objects. But the process of the digitalreconstruction is complex and time consuming as diverse sources have to be consulted and interpreted. Therefore, in this paper the latest technology in the feld of artifcial intelligence (AI) is used to support researchers in the feld of Digital Humanities: A Transformer deep learning model based on questions answering methods is introduced to assist to digitally reconstruct historical objects in 3D. It implies a new dimension of data availability, which supports the knowledge process by making large amounts of data qualitatively accessible. [Aus: Einleitung

200 anos uma mulher, 1000 anos um homem: : o caso da múmia de Marburg

For 200 years, there has been, in the Museum anatomicum of the Philipps University of Marburg, Germany an Andean mummy, inventoried as a woman upon its arrival in the collection. That gender ascription was done due to the mummy´s external body features, especially its long hair. As recent research was able to reveal, this ascription, extended to the burial gifts, is wrong. In this article, it will be shown that this gender ascription is a social and cultural construct of its arrival time in Marburg. The present analysis is deconstructing the previous assumptions, by investigating the biological and archaeological evidence.Desde hace 200 años, en el Museum anatomicum de la Philipps University de Marburg, Alemania, hay una momia inventariada como individuo femenino desde su llegada a la colección. Esta adscripción de género fue dada debido a sus rasgos corporales externos, específicamente por su larga cabellera. Como lo reveló una reciente investigación esta adscripción, extendida a las ofrendas de la sepultura, está errada. En este artículo se quiere mostrar que esa adscripción de género es un constructo social y cultural de la época en la cual llegó a Marburg y el presente análisis es el de deconstruir las suposiciones previas, investigando la evidencia biológica y arqueológica.Há 200 anos, no Museum anatomicum da Philipps University em Marburg, Alemanha, uma múmia é inventariada como indivíduo feminino desde sua chegada à coleção. Essa atribuição de gênero foi dada devido às suas características corporais externas, especificamente seus longos cabelos. Como uma investigação recente revelou, essa atribuição, estendida às ofertas funerárias, está errada. Neste artigo queremos mostrar que essa atribuição de gênero é uma construção social e cultural da época em que ele chegou a Marburg e a presente análise é desconstruir os pressupostos anteriores, investigando as evidências biológicas e arqueológicas